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Israel Resource Cards (Digital Use)
WESTERN WALL ַה ּכֹו ֶתל ַה ַּמ ַעָר ִבי The Western Wall, known as the Kotel, is revered as the holiest site for the Jewish people. A part of the outer retaining wall of the Second Temple that was destroyed by the Romans in 70 CE, it is the place closest to the ancient Holy of Holies, where only the Kohanim— —Jewish priests were allowed access. When Israel gained independence in 1948, Jordan controlled the Western Wall and all of the Old City of Jerusalem; the city was reunified in the 1967 Six-Day War. The Western Wall is considered an Orthodox synagogue by Israeli authorities, with separate prayer spaces for men and women. A mixed egalitarian prayer area operates along a nearby section of the Temple’s retaining wall, raising to the forefront contemporary ideas of religious expression—a prime example of how Israel navigates between past and present. SITES AND INSIGHTS theicenter.org SHUK ׁשוּק Every Israeli city has an open-air market, or shuk, where vendors sell everything from fresh fruits and vegetables to clothing, appliances, and souvenirs. There’s no other place that feels more authentically Israeli than a shuk on Friday afternoon, as seemingly everyone shops for Shabbat. Drawn by the freshness and variety of produce, Israelis and tourists alike flock to the shuk, turning it into a microcosm of the country. Shuks in smaller cities and towns operate just one day per week, while larger markets often play a key role in the city’s cultural life. At night, after the vendors go home, Machaneh Yehuda— —Jerusalem’s shuk, turns into the city’s nightlife hub. -
Quick Guide to the Eurovision Song Contest 2018
The 100% Unofficial Quick Guide to the Eurovision Song Contest 2018 O Guia Rápido 100% Não-Oficial do Eurovision Song Contest 2018 for Commentators Broadcasters Media & Fans Compiled by Lisa-Jayne Lewis & Samantha Ross Compilado por Lisa-Jayne Lewis e Samantha Ross with Eleanor Chalkley & Rachel Humphrey 2018 Host City: Lisbon Since the Neolithic period, people have been making their homes where the Tagus meets the Atlantic. The sheltered harbour conditions have made Lisbon a major port for two millennia, and as a result of the maritime exploits of the Age of Discoveries Lisbon became the centre of an imperial Portugal. Modern Lisbon is a diverse, exciting, creative city where the ancient and modern mix, and adventure hides around every corner. 2018 Venue: The Altice Arena Sitting like a beautiful UFO on the banks of the River Tagus, the Altice Arena has hosted events as diverse as technology forum Web Summit, the 2002 World Fencing Championships and Kylie Minogue’s Portuguese debut concert. With a maximum capacity of 20000 people and an innovative wooden internal structure intended to invoke the form of Portuguese carrack, the arena was constructed specially for Expo ‘98 and very well served by the Lisbon public transport system. 2018 Hosts: Sílvia Alberto, Filomena Cautela, Catarina Furtado, Daniela Ruah Sílvia Alberto is a graduate of both Lisbon Film and Theatre School and RTP’s Clube Disney. She has hosted Portugal’s edition of Dancing With The Stars and since 2008 has been the face of Festival da Cançao. Filomena Cautela is the funniest person on Portuguese TV. -
Eurovisión Y Geopolítica
EUROVISIÓN Y GEOPOLÍTICA Samuel Antón Chivo 1.- La sombra de la guerra El verano de 1945 llegaba a su fin y con él la Segunda Guerra Mundial. Europa se había quedado en nada y, en solo treinta años, habían tropezado dos veces con la misma piedra. Las consecuencias del conflicto fueron numerosas. Las ciudades quedaron inhabilitadas y los pueblos destruidos. Los daños humanos fueron superiores a los daños materiales. Cerca de treinta y siete millones de europeos sufrieron en su propia carne la explotación y la esclavitud que sus antepasados habían proporcionado a las poblaciones indígenas siglos atrás. Además, el cincuenta y dos por ciento de esos treinta y siete millones eran civiles no combatientes. El primer paso hacia la paz fue la Carta del Atlántico de 1941, seguida de la Conferencia de San Francisco por la cual surgía Naciones Unidas, que pretendía alcanzar la paz mundial. Además, Samuel Antón gracias a la Conferencia de Breton Woods se crearon organismos para regular la economía financiera como, por ejemplo, el Banco Internacional de Reconstrucción y Fomento, el Banco Mundial o el Fondo Monetario Internacional. Entre el 4 y el 11 de febrero de 1945, se reunieron Stalin, Churchill y Roosevelt en el Palacio de Livadia, cerca de Yalta, en la península de Crimea, para negociar las zonas de ocupación en la Alemania Occidental. No se olvidaron de Francia, que recibió su parte correspondiente. Este asunto terminó de concretarse en la Conferencia de Postdam entre el diecisiete de julio y el dos de agosto de ese mismo año. Se decidió dividir Berlín en dos1. -
Boston Symphony Orchestra Concert Programs, Summer
SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S. -
The Inventory of the Phyllis Curtin Collection #1247
The Inventory of the Phyllis Curtin Collection #1247 Howard Gotlieb Archival Research Center Phyllis Curtin - Box 1 Folder# Title: Photographs Folder# F3 Clothes by Worth of Paris (1900) Brooklyn Academy F3 F4 P.C. recording F4 F7 P. C. concert version Rosenkavalier Philadelphia F7 FS P.C. with Russell Stanger· FS F9 P.C. with Robert Shaw F9 FIO P.C. with Ned Rorem Fl0 F11 P.C. with Gerald Moore Fl I F12 P.C. with Andre Kostelanetz (Promenade Concerts) F12 F13 P.C. with Carlylse Floyd F13 F14 P.C. with Family (photo of Cooke photographing Phyllis) FI4 FIS P.C. with Ryan Edwards (Pianist) FIS F16 P.C. with Aaron Copland (televised from P.C. 's home - Dickinson Songs) F16 F17 P.C. with Leonard Bernstein Fl 7 F18 Concert rehearsals Fl8 FIS - Gunther Schuller Fl 8 FIS -Leontyne Price in Vienna FIS F18 -others F18 F19 P.C. with hairdresser Nina Lawson (good backstage photo) FI9 F20 P.C. with Darius Milhaud F20 F21 P.C. with Composers & Conductors F21 F21 -Eugene Ormandy F21 F21 -Benjamin Britten - Premiere War Requiem F2I F22 P.C. at White House (Fords) F22 F23 P.C. teaching (Yale) F23 F25 P.C. in Tel Aviv and U.N. F25 F26 P. C. teaching (Tanglewood) F26 F27 P. C. in Sydney, Australia - Construction of Opera House F27 F2S P.C. in Ipswich in Rehearsal (Castle Hill?) F2S F28 -P.C. in Hamburg (large photo) F2S F30 P.C. in Hamburg (Strauss I00th anniversary) F30 F31 P. C. in Munich - German TV F31 F32 P.C. -
June July 2018 Bulletin
A Congregation Affiliated with the Congregation B’nai Israel United Synagogue of Conservative Judaism 6525 Sylvania Avenue Sylvania OH 43560 151 Years of (419) 517-8400 Consecrated Service to www.cbitoledo.org God, Torah and Israel 5778 1 Notes from the Cantor ………………………………………. POWER OF MUSIC V The past month in Jewish history and in our calendar has been momentous. We experienced Israel’s 70th anniversary, celebrated in several excellent events in our community, the 51st anniversary of the reunification of Jerusalem, and the relocation of the US Embassy in Israel from Tel Aviv to Jerusalem. In the midst of all this euphoria, what might have escaped your attention is Israel’s winning the prestigious Eurovision song contest on May 12th 2018 in Lisbon, Portugal. That night in our Jewish calendar - the 28th of Iyar, commemorates the reunification of Jerusalem during the Six Day War of 1967. This is the fourth time Israel has won Eurovision, one of the world’s most famous international song contests. The winning song “Toy”, a pop anthem about female independence, was performed by 25 year old Netta Barzilai, accompanied by her signature “chicken dance.” Netta had placed third by the official judges, but won thanks to tele-voters from around the world catapulting her to victory. Hours before the victory, Israeli superstar film actress Gal Gadot had urged her twenty million Instagram followers to vote for Israel’s entry. Including words like “I’m not your toy you stupid boy...,” it was influenced by the #MeToo movement. The Eurovision contest has often been embroiled in political and religious controversies, although politically tinged songs are unofficially disallowed. -
MDLD Programme 18 19.Pdf
SOMMAIRE M 16 Compagnie Wang Ramirez 40-41 D 9 S 2 Deborah Colker V 29 Le Retour d’Ulysse 84-85 L 27 Patrice Thibaud CALENDRIER M 17 Compagnie Wang Ramirez L 10 D 3 S 30 Le Retour d’Ulysse M 28 Patrice Thibaud PAGES J 18 Compagnie Wang Ramirez M 11 José Montalvo 54-55 L 4 D 31 Le Retour d’Ulysse M 29 FUGUE VR, RÉALITÉ MIXTE 28 V 19 Compagnie Wang Ramirez M 12 José Montalvo M 5 AVRIL J 30 Du 13 au 23 sept. S 20 Compagnie Wang Ramirez J 13 José Montalvo M 6 L 1 V 31 Dans le cadre de la Biennale de la danse 2018 D 21 V 14 José Montalvo J 7 M 2 Le Retour d’Ulysse JUIN SEPTEMBRE L 22 Compagnie Wang Ramirez S 15 José Montalvo V 8 Cía Nacional de Danza 68-69 M 3 Le Retour d’Ulysse S 1 L 10 M 23 Compagnie Wang Ramirez D 16 S 9 Cía Nacional de Danza J 4 Le Retour d’Ulysse D 2 M 11 M 24 L 17 D 10 Cía Nacional de Danza V 5 L 3 M 12 J 25 M 18 Thierry Malandain 56-57 L 11 Cía Nacional de Danza S 6 M 4 Galactik Ensemble 92-93 V 26 M 19 Thierry Malandain M 12 Cía Nacional de Danza D 7 M 5 Galactik Ensemble J 13 S 27 Cabaret Citoyen 8 J 20 Thierry Malandain M 13 Cía Nacional de Danza L 8 CCN - Ballet de Lorraine 86-87 J 6 Galactik Ensemble V 14 Mourad Merzouki D 28 Cabaret Citoyen V 21 Thierry Malandain J 14 M 9 CCN - Ballet de Lorraine V 7 Galactik Ensemble Mourad Merzouki L 29 S 22 Thierry Malandain V 15 M 10 S 8 S 15 Journées européennes du patrimoine M 30 D 23 S 16 J 11 D 9 Défilé pour la paix M 31 L 24 D 17 V 12 L 10 D 16 Journées européennes du patrimoine NOVEMBRE M 25 L 18 S 13 M 11 Compagnie Arcosm 94-95 L 17 J 1 M 26 M 19 D 14 M 12 Compagnie -
Selección De Memorias Del Máster De Diplomacia Y Relaciones Internacionales 2017-2018
Selección de memorias del Máster de Diplomacia y Relaciones Internacionales 2017-2018 CUADERNOS DE LA ESCUELA DIPLOMÁTICA Selección de memorias del Máster de Diplomacia y Relaciones Internacionales 2017-2018 Nota Legal A tenor de lo dispuesto en la Ley de Propiedad Intelectual, no está permiti- da la reproducción total o parcial de esta publicación, ni su tratamiento informáti- co, ni la transmisión de ninguna forma o por cualquier medio, ya sea electrónico, por fotocopia, por registro u otros métodos, ni su préstamo, alquiler o cualquier otra forma de cesión de su uso, sin el permiso previo y por escrito del autor, sal- vo aquellas copias que se realicen para uso exclusivo del Ministerio de Asuntos Exteriores y de Cooperación”. MINISTERIO DE ASUNTOS EXTERIORES, UNIÓN EUROPEA Y COOPERACIÓN © de los textos sus autores © de la presente edición 2018: Escuela Diplomática Paseo de Juan XXIII, 5 - 28040 Madrid NIPO ESTABLE: (en línea) 108-19-002-1 NIPO ESTABLE: (en papel) 108-19-001-6 ISSN: 0464-3755 Depósito Legal: M-28074-2020 DISEÑA E IMPRIME: IMPRENTA DE LA DIRECCIÓN GENERAL DE COMUNICACIÓN, DIPLOMACIA PÚBLICA Y REDES DISEÑO PORTADA: JAVIER HERNÁNDEZ: (www.nolson.com) Reproducción en papel para conservación, consulta en biblioteca y uso exclusivo en sesiones de trabajo. Catálogo General de Publicaciones Oficiales de la Administración del Estado. https://publicacionesoficiales.boe.es "En esta publicación se ha utilizado papel reciclado libre de cloro de acuerdo con los criterios medioambientales de la contratación pública". Índice Nota Legal ........................................................................................................ 6 PRIMERA MEMORIA POR LUIS ÁLVAREZ LÓPEZ EL FESTIVAL DE EUROVISIÓN: un atípico Concierto Europeo ...................................................................... 13 AGRADECIMIENTOS .................................................................................... -
Anika Gauja – the Politics of Eurovision
>> Welcome to the podcast series of Raising the Bar Sydney. Raising the Bar in 2019 saw 21 University of Sydney academics take their research out of the lecture theatre and into bars across Sydney all on one night. In this podcast, you hear Anika Gouja’s talk The Politics of Eurovision. Enjoy the talk. [ Applause ] >> Good evening, Sorry Hill’s. [ Applause ] I’m just taking a very quick look at who’s in the audience so I can work out what I can and can’t say tonight. The results of the latest Eurovision fan survey were released today. Did anyone see those on social media? Okay. It’s a survey of Eurovision fans in Australia and overseas. And the Australian results showed that the typical Eurovision fan is aged 18-24, male. [ Laughter ] Part of the LGTBQI community, and is single. So if you’re not interested in politics, I don’t know why you’re here. [ Laughter ] I’ll wait for it. So I’m going to take you back to May 13, 2018. It’s 8:30 AM and I’ve been awake for more than 24 hours. I watched the delayed broadcast of the Eurovision first semifinal, the delayed broadcast of the Eurovision second semifinal. I watched the, you know, 50 Years of Eurovision documentary special. And I watched whatever ABBA retrospective was available. And that took me up to the grand final, 5:00 AM. I was at a Eurovision party with a group of friends like I am every single year. And the winner of the Eurovision Song Contest, Netta Barzilai with her song Toy was announced. -
Class of 1968 50Th Reunion
CLASS OF 1968 50TH REUNION BENNINGTON COLLEGE Class of 1968 Alix Abrons Steven Bush Laura Furman Sandra Adams Leontina Calabro* Ann Garvin Sharon Zync Alper Sharon Cameron Judith Gerson Barbara Lazear Ascher Beth P. Cavanaugh Peggy Kohn Glass Marjorie E. Baron* Cheryl Hauselmann Cherney Martha Armstrong Gray Jane B. Becker Diane Clemmons* Jennifer Wherry Griffin Andrea Behr* Karen Manulis Cohen Ana Nancy Waybur Hale Harriet Beinfield Molly Coye Rhoda Holtzman Halperin* Leslie V. Berg Cornelia Carlton Crocker Daryl Hartshorne Karen Michaels Berg* Kathleen Driscoll Emily Stonington Hibbard Harriet E. Bing Anna Renfield Dubow Erica Fratkin Hiersteiner Marjorie McRae Black Patricia Woodbridge Dunn John K. Hoffman Susan Jehle Johnson Blake Andrea Dworkin* Maria E. Huffman Julia Agee Bollinger* Re’u ben James Christman Edinger Liz Dicker Ingersoll Pamela Bostelmann Carolyn Minick Emanuel Susan Hannon Italia Barbara Kaufman Bouldin Elizabeth Enlund Marsha Kadesch* Tommie Ann Braun Bower Karron C. Esmonde Wendy Summit Kaiser Ann S. Bradburd Susan Evers Ernest T. Kirby* Debbie Brown Lisa Faithorn Lydia Allen Kitfield Ellen Shaw Clark Brown Nancy Finnegan Farnham Reiko Sunami Kopelson Gillian Cockburn Burch Barbara Fisher Cathie Korey Penelope Priest Burkitt Cheryl Sorli Fouche Claudia E. Lapp Patricia Burrows Alana Martin Frumkes Leslie Sliker LaRocca 3 CLASS OF 1968 Carol Levin Alexa Davis Parker Lynn Jones Stinnette Paula Ann Levine Barbara Pepe Gale Thompson Synnott Doris Levine* Phoebe Pettingell Marie McKenney Tavernini Lynne Lewis Ruth Ann -
Batsheva - the Young Ensemble Brings Inimitable Gaga Movement to Jacob’S Pillow Dance Festival, July 4–8
NATIONAL MEDAL OF ARTS | NATIONAL HISTORIC LANDMARK FOR IMAGES AND MORE INFORMATION CONTACT: Nicole Tomasofsky, Public Relations and Publications Coordinator 413.243.9919 x132 [email protected] BATSHEVA - THE YOUNG ENSEMBLE BRINGS INIMITABLE GAGA MOVEMENT TO JACOB’S PILLOW DANCE FESTIVAL, JULY 4–8 June 27, 2018 (Becket, MA) Batsheva - The Young Ensemble performs the Bessie Award-winning Naharin’s Virus in the Ted Shawn Theatre at Jacob’s Pillow Dance Festival, July 4–8. The work showcases the “superhumanly spry” (The New York Times) abilities of the Israel-based contemporary dance company, a second branch of Batsheva Dance Company. Batsheva and The Young Ensemble have gained international recognition for their use of the innovative movement research Gaga, developed by Artistic Director Ohad Naharin. With Gaga as their primary tool, The Young Ensemble lets go of the constraints of their technical training and unleashes the “free, exhilarating range of their movement” (The Guardian). “It is an absolute honor to welcome Ohad Naharin and Batsheva’s Young Ensemble to the Pillow for an immersive week, particularly in Ohad’s final months as Artistic Director. We invite audiences to see a performance, observe dancers in The School at Jacob’s Pillow, and attend a PillowTalk with Ohad, to engage with the movement research of Gaga from the source. It’s really a once in a lifetime opportunity,” says Jacob’s Pillow Director Pamela Tatge. The Young Ensemble’s performances coincide with the two-week Professional Advancement program, Gaga: The Movement Language of Ohad Naharin, offered by The School at Jacob’s Pillow. -
"Who's Right? Whose Rite? American, German Or Israeli Views of Dance" by Judith Brin Ingber
Title in Hebrew: "Nikuudot mabat amerikiyot, germaniyot ve-yisraliot al ma<h>ol: masa aishi be'ekvot ha-hetpat<h>ot ha-ma<h>olha-moderni ve-haammami be-yisrael" m --- eds. Henia Rottenbergand Dina Roginsky, Dance Discourse in Israel, published by Resling, Tel Aviv, Israel in200J "Who's Right? Whose Rite? American, German or Israeli Views of Dance" By Judith Brin Ingber The crux of dance writing, history, criticism, research, teaching and performance of course is the dance itself. Unwittingly I became involved in all of these many facetsof dance when I came from the US forfive months and stayed in Israel forfive years (1972-77). None of these facetswere clear cut and the diamond I thought I treasured and knew how to look at and teach had far more complexity, influences with boundaries blending differently than I had thought. Besides, what I had been taught as to how modem dance developed or what were differencesbetween types of dance had different bearings in this new country. My essay will synthesize dance informationand personal experiences including comments on Jewish identity while reporting on the ascension of modem dance and folkdance in Israel. It was only later as I began researching and writing about theatre dance and its development in Israel, that I came to realize as important were the living dance traditions in Jewish eydot (communities) and the relatively recent history of the creation of new Israeli folkdances. I came to see dance styles and personalities interacting in a much more profoundand influential way than I had ever expected. I was a studio trained ballet dancer, my teachers Ballets Russes alums Anna Adrianova and Lorand Andahazy; added to that, I studied modem dance at SarahLawrence College in New York.